<p/><br></br><p><b> Book Synopsis </b></p></br></br><p><i>The Politics of Nordsploitation</i> takes a transnational approach to exploring Nordic 'exploitation' films in their industrial contexts, exploring them as not only political manifestations of domestic considerations but also to position Nordic film cultures in a global context. Incorporating a wide range of films, from international cult classics like <i>They Call Her One Eye</i> (1974), homegrown martial arts films like <i>The Ninja Mission</i> (1984) to contemporary crowd-sourced fan productions like <i>Iron Sky </i>(2012), this volume examines the remarkable diversity of genre-based, commercially and culturally exploitative film production throughout the Nordic countries - emphasized here through the term 'Nordsploitation'. <br>This volume provides a historical exposition of largely ignored marginal films and film cultural patterns. It also outlines how influential these films have been in shaping the development of Nordic cinema. The effects are visible in the films of the new millennium as previously marginalized practices now enter the mainstream. With sharp insights and new research, <i>The Politics of Nordsploitation</i> redefines the concept of 'exploitation' and its role in small nation cinemas.</p><p/><br></br><p><b> Review Quotes </b></p></br></br><br>"This book fills a clear gap in the scholarship, and does so very well. <i>The Politics of Nordsploitation: History, Industry, Audiences</i> examines exploitation in a Nordic context, arguing that, because of local societal, political, and economic norms, the exploitation cinema of these countries 'both shares and challenges normative modes of exploitation....' The primary difference has to do with cultural attitudes toward sex, which is viewed as relatively unproblematic in Scandinavia, versus violence, which has been rigorously censored, and this volume consequently excludes sexploitation while focusing on violence and gore as the primary subject of censorship debates in the Nordic region. Distinguishing between two principle modes, local genre production and global exploitation, the book covers a wide range of films and topics, from Mats Helge Olsson's 'Entertainment Violence Factory' of the 1980s to Nordic Nazisploitation, from the Norwegian slasher cycle to transnational genre films, to an era of 'fanchising' and crowdfunding that produced hits such as <i>Iron Sky</i>. <i>The Politics of Nordsploitation</i> is therefore an essential volume for Bloomsbury's Global Exploitation Cinemas series." --<i>Linda Badley, Professor of English and Film Studies at Middle Tennessee State University, USA, and author of Film, Horror, and the Body Fantastic (1995) and Lars von Trier (2010</i><br><p/><br></br><p><b> About the Author </b></p></br></br><p><b>Pietari Kääpä</b> is Lecturer in Media and Communications at University of Stirling, UK. His research work synergizes transnational film and media studies with ecocriticism. Kääpä has published widely on transnational Nordic cinema and issues relating to ecocinema, including collections and articles exploring ecocritical concerns in Chinese cinema, in relation to audiences, documentary politics and minority film production. His books include <i>Ecology and Contemporary Nordic Cinema </i>(2014) and <i>Environmental Management of The Media: Policy, Industry, Practice</i> (2018). <p/><b>Tommy Gustafsson</b> is Professor of Film Studies at Linnaeus University, Sweden. He has published six books, edited three special journal issues as well as some 30 peer-reviewed articles. His work is mainly concentrated on film and television history, both international and Nordic. With Pietari Kääpä he has edited <i>Transnational Ecocinema: Film Culture in an Era of Ecological Transformation </i>(2013) and <i>Nordic Genre Film: Small Nation Film Cultures in the Global Marketplace </i>(2015).</p>